Creative Writing: The [Self] Identification of Moendelssohn as Jew

1998 ◽  
Vol 82 (1) ◽  
pp. 190-209 ◽  
Author(s):  
J. S. Sposato
Keyword(s):  
Creative Writing ◽  
The Self

Reweaving the Self: Creative Writing in Response to Tragedy

2009 ◽  
Vol 96 (3) ◽  
pp. 529-538 ◽  
Author(s):  
Judith Lingle Ryan
Keyword(s):  
Creative Writing ◽  
The Self

scholarly journals Autiethnography

2020 ◽  
Vol 33 ◽  
Author(s):  
Martine Mussies
Keyword(s):  
Creative Writing ◽  
Visual Art ◽  
The Self ◽  
A Performance

Autoethnography may be regarded as writing of and about the self as embedded in culture; however, neurotypical status affects autoethnographic perception, and such so-called autiethnographies can cross the boundaries of humanism by providing examples of metahumanist subjectivity. As an autistic gamer, I engage with games in a different way, showcasing how (dis)abled gaming, neurotypicality, fannishness, and sociopolitical responses are never independent from one another. Autiethnographies blur the limitations of science and creative writing, and may be expressed through other forms of communication, such as a performance, a podcast, or a work of visual art.

Mind Wandering, Creative Writing, and the Self

2017 ◽  
pp. 301-313 ◽  
Author(s):  
David D. Preiss ◽  
Diego Cosmelli
Keyword(s):  
Creative Writing ◽  
Mind Wandering ◽  
The Self

‘Storying the self’: Autobiography as pedagogy in undergraduate creative writing teaching

2019 ◽  
Vol 12 (1-2) ◽  
pp. 91-107
Author(s):  
Jess Moriarty ◽  
Ross Adamson
Keyword(s):  
Qualitative Research ◽  
Creative Writing ◽  
Meaning Making ◽  
The Self ◽  
Social Worlds ◽  
Academic Level ◽  
Personal Stories ◽  
The World ◽  
Personal Histories

The telling and sharing of stories is synonymous with what it is to be human. The narrative threads reaching back through our personal histories can help us to make sense of who we are in the present and we already use these stories anecdotally, at school, on dates, over coffee, in the local, to make connections with people and our social worlds. At an academic level, storytelling that engenders meaning making is becoming legitimized as branch of qualitative research that can inform us about our culture and identity. Autoethnography is a methodology that links the self (auto) with ethno (culture) to research (graphy). Helping students to work in this way and make these connections in their assessed work can be a challenge, but it can also help them to identify the stories that already exist inside themselves and give them the confidence to believe that these stories might matter in the world beyond their writing journals and university lectures. In this article, the authors share personal stories to reflect on our pedagogic approach to undergraduate creative writing teaching.

Creativity: What, Why, and Where?

2016 ◽  
Author(s):  
Nellie Hermann
Keyword(s):  
Creative Writing ◽  
Narrative Medicine ◽  
The Self ◽  
Everyday Lives ◽  
The World ◽  
The Mind

Creativity is at the center of narrative medicine’s work. It lets clinicians perceive and imagine what their patients undergo, lets patients articulate events of illness, and lets all acknowledge their own complex experiences in healthcare. The chapter proposes that creativity is present in our everyday lives, whether or not we are artists. Creativity is an openness to uncertainty and doubt, an expansion of the mind, a way of being in the world that quickens the spirit. The chapter explains the interior processes of writing about one’s own life and the consequences of having written. It details the forms and dividends of creative writing in narrative medicine and describes the roles and goals for creative writing in healthcare. Without distinguishing between “great writers” and the rest of us, the chapter expresses plainly and deeply the human necessity for bringing forth from within the self the unsaid experiences of life.

Suzanne Jacob Translations from Poèmes I

2021 ◽  
Vol 6 (2) ◽  
Author(s):  
Wilson Baldridge ◽  
Jeanine Hathaway
Keyword(s):  
Creative Writing ◽  
Jacques Derrida ◽  
The Self ◽  
State University ◽  
Wichita State University ◽  
Michel Deguy

Jeanine Hathaway currently enjoys professor emerita status from Wichita State University, having taught creative writing and literature there. She was a poetry mentor in Seattle Pacific University’s MFA Program. Hathaway is the author of the autobiographical novel Motherhouse (1992), the 2001 Vassar Miller Poetry Prize-winning The Self as Constellation (2002), and a chapbook, The Ex-Nun Poems (2011) HYPERLINK: https://www.jeaninehathaway.com"https://www.jeaninehathaway.com.  Wilson Baldridge participated in all three international colloquia on Deguy's work (Paris, 1995; Cerisy, 2006; Bordeaux, 2011) and composed the biographical section of  Les écrits de Michel Deguy  (IMEC, 2002).  Recumbents, his translation of Deguy’s  Gisants  together with the interpretive afterword by Jacques Derrida‚ "How to Name" (Wesleyan, 2005), received the 2006 PEN Award for Poetry in Translation. His list includes "Savoir, inventer" in the  Grand Cahier Michel Deguy  & "Lumière et révélation dans  Sans retour" in  Michel Deguy, l'allégresse pensive.

scholarly journals A (Class)Room with a View: How Fiction Can Help New Teachers

2008 ◽  
Vol 2 ◽  
Author(s):  
Susan Barber
Keyword(s):  
Teacher Education ◽  
Creative Writing ◽  
Narrative Inquiry ◽  
New Teachers ◽  
The Self ◽  
Teacher Education Programs ◽  
Education Programs ◽  
Class Room ◽  
Pedagogical Literature

In teacher education programs there is much vocal support surrounding the idea of using creative materials to encourage innovative ways of seeing and learning. Yet these programs sometimes struggle to teach through arts-based texts that facilitate both wider and deeper knowledge of the self and others. The reason for this may be twofold: first, there may be a lack of understanding or appreciation of narrative inquiry, and second, examples of targeted pedagogical literature are scarce. In this article, I would like to explore the value of teaching through literature and creative writing, and in particular, focus on how stories written by and for new teachers can be significant in shaping positive identities for their new profession.

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